Slant Magazine's Scores

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For 7,767 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,344 out of 7767
  2. Mixed: 1,490 out of 7767
  3. Negative: 1,933 out of 7767
7767 movie reviews
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  1. Coup de Chance
    The film is at once among Woody Allen’s most economical works and one of his most free-spirited.
  2. The Old Oak
    If Ken Loach has always erred on making his political views impossible to misconstrue, he also knows how to keep his dramas from spiraling too far outside of plausibility.
    • 78 Metascore
    • 75 Critic Score
    The People's Joker
    Throughout The People’s Joker, Drew lampoons comedy institutions as freely as she does superhero hegemony, in effect mounting an impassioned argument for the vitality of art made at the margins regardless of classification.
  4. Blackout
    As in his prior work, the far-reaching curiosity and fascinatingly conflicted nature of Fessenden’s perspective is still his greatest strength.
  5. Godzilla x Kong: The New Empire
    The last 20 minutes live up to the promise of bludgeoning viewers with plenty of rock-‘em-sock-‘em combat and demolished human landscapes, but what any of it is actually for will be forgotten even before the dust begins to settle.
  6. DogMan
    Dogman seems outwardly enamored with cosmic possibilities of meaning, but Luc Besson’s script remains earthbound and unimaginative.
  7. Asphalt City
    Shove everything into the meat grinder of cynicism and, in the end, your insights come to feel purely incidental.
    • 95 Metascore
    • 88 Critic Score
    Do Not Expect Too Much From the End of the World
    The film further confirms Radu Jude as one of the most idiosyncratic, uncompromising, and intellectually vigorous of living filmmakers.
  9. Ghostbusters: Frozen Empire
    There are protracted moments of humor, fright, and pathos in Frozen Empire, but as it’s all so scattershot and disconnected, the film ends up being defined by its lack of conviction when it comes to exploring its ideas to the fullest.
  10. Limbo
    The cinematography solidifies the film’s status as a noir grappling with corruption and probing moral grey areas, while at the same time echoing visually the stark divisions between white and Indigenous people in Australian society.
  11. The American Society of Magical Negroes
    There are versions of this premise relevant to a modern world, but the film’s point of view on the state of race relations feels stuck somewhere around 1954.
  12. Civil War
    Frightening, even-tempered, and disarmingly humane, Civil War is intelligent precision filmmaking trained on an impossible subject.
  13. Shirley
    In the end, this sub-Sorkin-esque political potboiler sidelines Chisholm's most meaningful community work to the fact that she tried and failed to run for president.
  14. Immaculate
    The film’s final act contains some of the most twisted, gory violence this particular subgenre of horror has seen in years, ultimately recalling nothing less than the films of the ultra-violent New French Extremity movement.
  15. Babes
    By turns tender and raucous, Pamela Adlon’s feature-length directorial debut, Babes, spins the uneasy, unwelcome, weirdly cool corporeal realities of pregnancy into heartfelt comic gold.
  16. Knox Goes Away
    As Knox Goes Away motors steadily toward redemption and family reconciliation, it leaves all opportunity for real moral reckoning in its rearview mirror.
  17. Y2K
    The big sequence where the year 2000 hits and everything from a toaster to a Tamagotchi goes homicidal is a chaotic blast, but once the film shifts into a broader comic gear, it never quite finds its heart again.
  18. Road House
    Not quite a grim-dark reimagining of a cult favorite, this Road House is still a needlessly un-nice rework that takes the business end of a broken beer bottle to the soul of the original.
  19. In the Summers
    One of the film’s great strengths resides in Alessandra Lacorazza Samudio’s confidence in her details to speak for themselves, without the need of plot gimmickry.
  20. Dahomey
    Mati Diop’s captivating, fabulistic documentary Dahomey confronts the reality of how modernity has been shaped by the West’s theft of cultural heritage.
  21. Spaceman
    Spaceman seems to want to be an allegory about men’s emotional unavailability and its impact on heterosexual relationships, but instead of coming across universal, the film’s human characters, along with much of the drama, are mostly empty space.
  22. The Animal Kingdom
    The soft-pedaled approach to its narrative strands gives the film the feel of an extended TV pilot.
  23. High & Low: John Galliano
    The film shamelessly announces from the very start that it’s an attempt at atonement for disgraced designer John Galliano.
  24. Imaginary
    The film never thinks to lean into the blatant silliness that its premise invites.
  25. Damsel
    At its best, Damsel suggests a dark fantasy riff on Neil Marshall’s The Descent.
  26. Kung Fu Panda 4
    The film is a good time, and it doesn’t exactly betray any of Kung Fu Panda’s strengths, but it also exhibits the telltale signs of a series struggling to justify its existence.
  27. Ricky Stanicky
    As a WWE superstar, Cena is a perfect casting choice for a larger-than-life character like the formerly imaginary Ricky. He rattles off jokes with the boundless energy of a man used to spending three nights a week catapulting himself across a ring, and he’s completely at ease as the absolute center of attention.
  28. Problemista
    The film doesn’t lock on a target long enough for it to work up a head of steam as satire about the art world and how it thrives on nepotism, let alone one about the frustrations of the immigration process.
  29. Sasquatch Sunset
    What we’re confronted with in the film may be less the quaint idiocy of four dull simians and more our own inability to loosen up and just live.
  30. Another End
    Despite its initially familiar trajectory, Another End disarmingly and purposefully sweeps us away on a wave of apathy not unlike that which plagues its main character, challenging our sense of who we fundamentally are as humans.
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